Quotes of All Topics . Occasions . Authors
We all know the power of film; we all know there's almost nothing more powerful than to see people on film that look and talk like you, like we do.
When I was very little, I probably wanted to be more normal. I probably wanted the Laura Ashley bedroom, and instead I got thrift-store everything.
'Headhunters' was a breakthrough film for me, internationally, and I got offered a lot of scripts from Hollywood - a lot of heightened hero movies.
This sounds really hokey, but I think Buddhism is the only religion that is genuinely peaceful, so I'd try to promote it in a contemporary society.
I'm going to hold onto my Blu-ray collection because I really think it's hardware and it's important. I don't want to live in a cloud, all my life.
Going around Rome, you can find beauty because, quite simply, Rome is very beautiful. But the beauty of the people is sometimes harder to discover.
I've always done 20 things at once. It's my way of staying alive, not to keep one dish cooking, but several dishes going. And I'm pretty organized.
And as I was sort of doodling, I was thinking, surprise and fear - probably fairly similar so let's just lose surprise. And that left us with five.
A really intelligent man makes an indifferent painter. For painting requires a certain blindness, a partial refusal to be aware of all the options.
If you think about it, most cinema is built along 19th-century models. You would hardly think that the cinema had discovered James Joyce sometimes.
I want to make a series of movies that run together, so if any crazy lunatic wants to watch them all in a row, there will be a consistency of tone.
To his ex-wife in court, he said I lost interest in you when the Botox lost its effect and you looked like a plastic doll that escaped from a fire.
Then they'd [Nazi] make movies against England, you know, in the same way, to help, you know, feather their nest for what they - their aggressions.
Most of the projects aren't that interesting anymore. There used to be a day when the studios made amazing films, and they were about human beings.
I've made movies where people say it's their favourite, but they don't take it seriously because it just didn't seem to break through commercially.
I think a lot of the source of how people are treated depends on the fact if someone recognizes them as a human being or not, you know what I mean?
I have always chosen subjects which are little different, and not subjects that you see. That challenges me and the actors who work in the project.
The person I enjoy working for more than anyone else is George Lucas. He's the best boss I ever had because he's the most talented boss I ever had.
I do have a responsibility, but I would make the most boring films in the world if I woke up every morning worrying about my social responsibility.
I come from a big extended family, so it's very normal to be around babies for us, but when it's your own, it's a very different experience for us.
I used to have a phone machine that you turn 'on' and 'off,' which was great. Now, it's so technological that it's like going down the rabbit hole.
The film language is still in development and the traditional dialogue is the biggest problem because nobody knows how to interpret it in 3D world.
I noticed that there were all these kinds of practices in a working set that had to be un-practiced on 'Far from Heaven,' which was so interesting.
I'm not a famous director yet, and I'm not into fame. I like to just work. As a director, as an actor, whatever people consider me is fine with me.
You have to believe in yourself. And you have to, down deep within the bottom of your soul, feel that you can do the job that you've set out to do.
Probably the hardest thing to do was the beginning of the movie ["300"], I think, when we were in Sparta and all that - just getting in the groove.
Any director who's willing to be brave not only in terms of subject matter but also in terms of being emotional and moving you is what inspires me.
I think that people don't necessary fight with or aren't necessarily beaten by weapons, but it' through their minds and what they think they can do.
I didn't go to film school. I was never an assistant or trainee on a film. I had not seen all those cameras. So I think it gave me a lot of freedom.
The way that a handful of corporations in Los Angeles dictate how our stories are told creates a real poverty of imagination and it's a big problem.
A pitfall of making a comedy with a studio-and it's also an American cultural thing-is that I get tired of being encouraged to go always for laughs.
Any time I wind up in the lane where you can't quickly turn off of it and it's turning into the freeway, I just start screaming until I'm off of it.
In my culture, there's a tradition that when you're in an overwhelming situation and you don't know what to do, you put yourself in a woman's shoes.
People always accuse me of making these dark, depressing movies. 'Why do you have to pick up on real issues? People are so exhausted and miserable.'
I love music, I make films with music, I eat with music, I sleep with music, I think with music. Music makes me dream, it strengthens my creativity.
I love music, I make films with music, I eat with music, I sleep with music, I think with music. Music makes me dream; it strengthens my creativity.
My mom had me when she was 16, and I was an only child, which is probably why I received a lot of love and didn't miss that my father wasn't around.
I thought, "If I can make you feel what it's like for that first super-passionate love, other people might like that too," and, of course, they did.
You have to stick to what you love, as writing is such a lonely and depressing existence... stick to what you love and someone will hear your voice.
We saw what happens with Bolsheviks. It was another catastrophe. I don't have the solution. The moviemaker can ask questions but not give solutions.
As soon as you think you can do whatever you want and you have whatever great professional in the world waiting to work with you, then you are sunk.
More and more people are seeing the films on computers - lousy sound, lousy picture - and they think they've seen the film, but they really haven't.
It's no secret that my process is a little bit loose and can be a little bit infuriating to a studio if they don't know what they're signing up for.
It's not appropriate to a love story, or - there are a million stories you could think of that don't need 3D. A lot of movies don't even need color!
There's a depth to the look that you get with models that you just can't get with CGI. It's about the detail that you just wouldn't think to put in.
'Scott Pilgrim' is something that was a little bit more difficult to put in one box. But, to me, that's not necessarily a bad thing about the movie.
The only thing experience teaches you is what you can't do. When you start, you think you can do anything. And then you start to get a little tired.
I'm really interested in self-deception. Really interested in how people live in bubble universes. How people can fail to see the seemingly obvious.
A movie is a diamond and suddenly someone is seeing this facet or that facet. No matter how good you think you are, there's stuff you're not seeing.
In the U.S., coaches could be the father next door. They had no formal training. They're like old hockey players. They don't go to school and study.